Features
Mo Henry: The Last of the Negative Cutters?
“I thought this would end fast, and I’m shocked that I’m still doing it.” – Mo Henry […]
Picture Editors
Features
Everything’s Coming Up ACES: New Color Standard’s Impact on Editors and Colorists
Now, after years of field-testing pre-release versions of ACES on selected projects, ACES version 1.0 is finally available as, according to the Academy […]
Features
Editors of ‘S.H.I.E.L.D.’: Surmounting Formidable Challenges Weekly
Just as the show itself tells the story of an organized team of spies, agents and heroes on a mission to protect the world, the editorial mission requires a similarly dedicated team. […]
Book Reviews
Still Hungry for Oscar Stats?
These E-books Are for You
With the 2018 Oscar winners’ statuettes now proudly on display on their mantlepieces, and the Academy of Motion Picture Arts and Sciences’ surplus carefully stowed away for another year, it’s time to take a look at how the 90th annual awards fit into post-production history. […]
Awards
‘Dunkirk’ Dominates Post-Production Oscars
The 2017-2018 Awards Season officially came to a close on Sunday evening, March 4, with the 90th annual Academy Awards ceremony, in which the coveted Oscar statuettes were presented to the winners. […]
Features
When Uncle Walt Met Mary Poppins: Mark Livolsi Edits ‘Saving Mr. Banks’
The release of Hancock’s current film, Saving Mr. Banks, which tells the tale of the making of Disney’s famous film, Mary Poppins, puts the spotlight on an unlikely pairing in many respects. […]
Features
Editor As Therapist: Stephen Mirrione Dissects ‘August: Osage County’
“Some of my directors definitely say that sitting with me in the editing room is a therapy session… I recommend to editors to go to a therapy session, because I think they would learn a lot about what it’s like to really listen and be able to draw out what a director is thinking and feeling.” – Stephen Mirrione […]
Features
He Shoots; He Cuts: Picture Editors Collaborate with Cinematographers
Because of the bifurcated way in which most films and television shows are made, with production and post-production each functioning more or less independently, they seldom have occasion to work together on a one-on-one basis. That does not mean, however, that they do not collaborate. […]
Features
The Department of ‘Homeland’ (Editorial) Security
The editorial opportunities have obviously changed as the series has evolved. According to Goldman, one of the goals for the pilot was to cut every scene so that it could be interpreted that Brody was either a terrorist or was just messed up from Post-Traumatic Stress Disorder. […]
Features
Editorial ‘Argo’-naut William Goldenberg
Ben Affleck has a “particularly clear mind” when it comes to the editing process and understanding his editor’s needs while he is shooting, according to William Goldenberg. […]
